Listen To Day – DORIS DAY***

Pillow Talk/Heart Full Of Love/Anyway The Wind Blows/Oh What A Lover You’ll Be/No/Love Me In The Daytime/I Enjoy Being A Girl/Tunnel Of Love/He’s So Married/Roly Poly/Possess Me/Inspiration

In 1960 Doris Day was at the top of her game as a movie star but was considered rather passé as a singer. Listen To Day includes several songs from her popular movies. (US:26)

"Listen To Day is lots of fun. The mood is definitely upbeat...it's very 60s and features many songs from her comedies, plus some other rarely heard ditties.”

“This is a lucky find. It includes some little known material done especially for this album as well as some better known material from Doris Day's movies. Heart Full Of Love has a beautiful 60s sound. I wonder why it wasn't a hit.”

“Listen To Day demonstrates Doris Day's vocal sensitivity, her consummate musical phrasing, and her ability to turn a popular lyric into sheer poetry. Pillow Talk, Roly-Poly, Possess Me and Inspiration were all from the movie Pillow Talk. Tunnel Of Love and Any Way The Wind Blows featured in other films. The other six tracks feature mainly upbeat, fun songs with the occasional ballad, just like the six movie songs. The song No would be regarded as controversial these days."

“You don't hear her getting the praise that she so richly deserves, although she almost single-handedly saved the movie musical from extinction when she became an instant success after her first film.”

“Her voice is hard to describe. Many people call it 'dreamy'. Yes, it is that, but it's much, much more. There is an urgency to tell the truth and to tell it to one person.”

Join Bing & Sing Along – BING CROSBY**

Take Me Out To The Ball Game-Meet Me In St Louis Louis-Peggy O’Neill/K K K Katy-Mairzy Doats-Old Mcdonald Had A Farm/Aura Le-Cuddle Up A Little Closer/Daisy Bell-The Bowery-After The Ball/Long Long Ago-On The Banks Of The Wabash-I Was Seeing Nellie Home/Shoo Fly Don’t Bother Me-On Them Golden Slippers-On The Road To Mandalay/Give My Regards To Broadway-Mary’s A Grand Old Name-You’re A Grand Old Flag/When You Wore A Tulip-You Were Meant For Me/Goodbye My Lady Love-Linger Awhile-Heart Of My Heart/Doodle Doo Doo-All I Do Is Dream Of You/Alice Blue Gown-I Love You Truly-When I Grow To Old To Dream/A Hot Time In The Old Town Tonight-Toot Toot Tootsies/Ta Ra Ra Boom Der E

Join Bing & Sing Along was a double album of singalong medleys that appears very similar to the Mitch Miller formula from the States. It featured many old tunes some of which even pre-date Bing Crosby’s recording career. (UK:7)

“I was brought up listening to this album as a child and the rich voice of Bing Crosby and happy style of the music has stayed with me. This was such an influence on my diverse musical taste and I will be forever grateful for this introduction to Bing Crosby's music.”

“This album is a joy. It was recorded in the late fifties when Bing's voice had mellowed like a fine vintage wine. The only downside is that the musical accompaniment sounds like some bloke on a Wurlitzer at the end of Blackpool Pier. But don't let that put you off. Needless to say it's great toe tapping stuff and note perfect all the way through. Buy it and play it in the car when you're out on your Sunday drives.”

Greatest Hits/More Greatest Hits – CONNIE FRANCIS*****

Greatest Hits: Robot Man/Fallin’/Happy Days & Lonely Nights/Stupid Cupid/Carolina Moon/Plenty Good Lovin’/ Valentino/It Would Be Worth It/You’re Gonna Miss Me/If I Didn’t Care/My Happiness/I’m Sorry I Made You Cry More Greatest Hits: Jealous Of You/My Heart Has A Mind Of Its Own/Everybody’s Somebody’s Fool/Mama/No One/God Bless America/Among My Souvenirs/Where The Boys Are/Many Tears Ago/Malaguena/Valentino/ Senza Mamma E Nnaumarata

Early compilations from Connie Francis who was the most popular female vocalist at the turn of the decade. Greatest Hits reached No. 17 in the US and No. 16 in the UK, with More Greatest Hits peaking at No. 39 in the US.

“Connie Francis was the Maria Callas of pop music. Her incredible popularity in the 1950s and early 1960s was unmatched, She was the girl every father wanted for a daughter and every boy wanted for his girl. She had a singular, sing-songy, heartbreaking voice which almost no one else could do successfully. She could take pretty much any material, no matter how minor, and make it good, sometimes great.”

“The sound is true, the self-harmonizing is beautiful, and the songs that made her famous (many of which were old Tin Pan Alley standards which were old-fashioned even in her heyday) hold up beautifully over the years.”

“Her voice, as usual, is spectacular - as clear as a bell, and exuding feeling on the ballads, equally rocking out on the uptempo numbers. These songs are timeless.”

“Contemporary rock pundits, including those who govern the rock & roll Hall of Fame, tend to smirk at, and dismiss as silly fluff, the efforts of early artists like Connie. But in this they are completely wrong, for one can only rightly judge and assess any cultural component within the context of its time. And the way Connie approached her craft was no different from any of the others of that era that the Hall of Fame has chosen to honour - that is to say, to deliver their songs to appeal to the fun and innocence in the human soul.”

“Connie Francis possessed a wonderful voice when she was in her prime in the late 1950s and early 1960s. Her rich, warm and vibrant voice attracted much deserved attention wherever and whenever she performed.”

“She had a young, fresh voice that expressed so many emotions precisely the way people experienced them in real life. People could relate to Connie for her energy as well as the topics of which she sang.”

In The Spotlight – BO DIDDLEY***

Road Runner/Story Of Bo Diddley/Scuttle Bug/Signifying Blues/Let Me In/Limber/Love Me/Craw-Dad/Walkin’ & Talkin’/Travellin’/West/Deed & Deed I Do/Live My Life

Recognised by his trademark rectangular guitar, blues rocker Bo Diddley achieved only limited commercial success. However, he exerted a strong influence on many musicians, particularly The Rolling Stones. In The Spotlight was one of his more highly regarded releases.

“Listening to this record, it's easy to see where Mick Jagger and his contemporaries got their egos. While Elvis was making women swoon, Bo Diddley was arguably pioneering one of rock's most essential elements: self-mythology. Who else would have the audacity to claim that they invented a two-measure, six-note rhythmic pattern? Here he sings a song called Story Of Bo Diddley, which would not be the last time he would write a song about himself.”

“This album is quite a bit louder and swampier than Chuck Berry recordings from the same time. Special mention goes to the West Indies-influenced Limber and the original storming version of the perennial Road Runner, but this entire album is eminently listenable and is one of the most enjoyable 50s/early 60s rock albums.”

“The two openers Road Runner and Story Of Bo Diddley are rightly considered Diddley classics, but otherwise there is nothing new on this album. Instead many tracks are recycled oldies or are simply standard R & B offerings.”

“Bo is the real king of rock and roll. This is an amazing set of songs, every one a gem."

“Every track on this sounds 'hit worthy'. Anyone interested in how we got where we are in rock & roll should buy this. The Rolling Stones owe him a lot.”

“Bo Diddley was never as commercially successful as his Chess Records label mate Chuck Berry, but the music that he created in the late 1950s and early 1960s would influence a legion of rock 'n' roll followers.”

"Live My Life is a mid-tempo blues tune with a strolling rhythm, Diddley's uncharacteristically soulful vocals, backing harmonies, and scraps of wiry guitar.”

Swing Dat Hammer – HARRY BELAFONTE***

Look Over Yonder/Bald Headed Woman/Grizzly Bear/Diamond Joe/Here Rattler Here/Another Man Done Good/Swing Dat Hammer/Go Down Old Hannah/Rock & Gravel/Talkin’ An’ Signifyin’

A departure from the usually upbeat Belafonte style here, as he tackles some old chain gang songs. Evidently this kind of material was not to the taste of the public as Swing Dat Hammer was a rare commercial flop.

“Mostly a cappella, solitary and group vocal, readings of classic and obscure chain-gang and work songs. Tender, delicate, impassioned and powerful, Belafonte sings with incredible sensitivity and strength throughout.”

“One of Belafonte's most honest and chilling performances. This is bare-bones Belafonte, accompanied at most by a single guitar, bass fiddle and minimal percussion in addition to the awesome Belafonte Singers. It is historically important, timeless and thoroughly American music, and it makes for some fascinating listening." ,p> “The songs and musical arrangements on the Swing Dat Hammer album reflect a period in history as well as the laments of chain-gang rhythms. The songs present both a rhythmic beat and purpose (to break rocks in unison while singing). Almost gospel like in arrangement, the listener gets a feeling of sweet, sad joy from the tunes and a need to rise and dance from the rhythms. These are not light-hearted, merry tunes, but a soulful excursion with lyrics easily understood, and tunes having actual music that can be whistled or hummed. Belafonte's voice and rendition translates each song into a powerful bodily feeling.”

“Not only is Mr. Belafonte's voice gorgeous, the musicians and back-up singers are superb as well. The whole thing is all too wonderful. My favourites are Another Man's Done Gone, and Here Rattler, both of which evoke feelings of sadness, anger and fear. When you listen and realise that these songs were sung by men on chain-gangs, the songs take on a whole new meaning - gut-wrenching.”

Persuasive Percussion Vols. 1 & 2 – ENOCH LIGHT****

Vol.1: I’m In The Mood For Love/Whatever Lola Wants/Misirlou/I Surrender Dear/Orchids In The Moonlight/I Love Paris/My Heart Belongs To Daddy/Tabu/The Breeze & I/Aloha Oe/Japanese Sandman/Love Is A Many Splendored Thing Vol.2: Blue Is The Night/Blue Tango/Miami Beach Rhumba/Yours Is My Heart Alone/In A Persian Market/Mambo Jambo/Dearly Beloved/Lu Cucaracha/Rock-A-Bongo Boogie/Lady Of Spain/Out Of Nowhere/Brazil

Enoch Light divided his audiophile hi-fi releases into 'Provocative' and 'Persuasive' series. His first two Persuasive Percussion LPs peaked at No.1 and No. 3 respectively on the US album chart.

“Enoch Light's Persuasive/Provocative Percussion series, originally issued on the old Command stereo label, remain the ultimate 1960s jet-age, bachelor pad, music on the planet. Well balanced, great sound stage, and a well preserved ping-pong stereo image that allowed guys to show off their Eico amps and Wharfedale speakers 50 years ago.” “These albums are considered among the apex in not only composition by Light but in stereo recording.”

“This music is so camp, so wonderfully cheesy, so good - its classic. Put it in your player, turn on the lava lamps, put on your best paisley shirt and have a good time. Yeah, baby.”

“These early stereo recordings have the ping pong effect between the two speakers. It's such fun. The melodies and arrangements are delivered in superb sound.”

“I have been a fan of Enoch Light from the early 60s. His music style of that era was totally different. Great to listen and dance to.”

“People of any generation can appreciate the craftsmanship of this group of musicians. The LP really can bring out the best of your sound system. The music is timeless, whether highlighting the percussive abilities or the orchestra.” “The true test for hi-fi stereo c.1960. Highly imaginative compositions, excellent arrangements, and a cast of superb musicians directed by a leader with personality and class. His Command albums are works greater than the majority of products of the age and conserve extraordinary well. Attention to channels right and left.”

My Concerto For You – RUSS CONWAY***

My Concerto For You/The Way To The Stars/Dream Of Olwen/Dusk/The Lonely Melody/The Warsaw Concerto/ Autumn Concerto/Forgotten Dreams/Cornish Rhapsody/Jeannie/Till/La Mer

Here pianist Russ Conway departs from his usual honky-tonk pop style towards a more classical based approach. My Concerto For You still managed to achieve a creditable album chart placing. (UK:5)

“Russ Conway, a cornerstone of the early 60s. Russ belted out so many hits you could lose count. I recall as a child seeing him appear on so many Saturday night TV shows as a guest, and can remember hearing him on the radio, where his distinctive style and personality shone through every time.”

“Russ Conway, used to play a lot of pubby honky-tonk stuff but you see from this he really was a music lover.”

“His Dream Of Olwen is a remarkable version of one of the most beautiful pieces of music ever - spot on. What wonderful orchestration and what beautiful musicianship.”

The Blues & The Beat – HENRY MANCINI****

The Blues/Smoke Rings/Misty/Blue Flame/After Hours/Mood Indigo/The Beat/Big Noise From Winnetka/Alright Okay You Win/Tippin’ In/How Could You Do A Thing Like That To Me/Sing Sing Sing

Conductor, composer and arranger Henry Mancini here released an infrequent non movie or TV themed album. The jazz tinged The Blues & The Beat is divided into slow and fast sides.

“This was one of Mancini’s best efforts in the jazz field. The dynamics and imagination of the arrangements are superb. My favourite is Mood Indigo but there are others that I like almost equally well.”

“I have enjoyed it over and over the years. It never tires; is always fresh. The musicianship is superb, and the arrangements typical Mancini.”

“The musicians used by the Maestro throughout his career were the best Hollywood had to offer. I prefer the beat selections, when you hear it you will understand why. If you have a top flight music system, let 'er rip.”

“There is not a selection here that is not fresh and exciting. The Beat and Tippin’ In are my personal favourites. Great music, great man.”

“With The Blues & The Beat, Henry Mancini delivered one of his bluesiest, jazziest records. Though it isn't an entirely successful experiment, it has its share of delightful moments, as proved by Mood Indigo and Sing Sing Sing. Mancini could never deliver straight jazz, but his easy, orchestrated approximations are enjoyable as their own entity.”

“I’ve owned this album since the 1960s and played the grooves off. It was my favourite 'soother' at the end of a hectic day...lots of low and lush brass, slow and rich harmonies...perfect for romance or just unwinding.”

“I used to only play the beat side, and loved it. Imagine my shock and delight when I listened to the blues half for virtually the first time. Wait until you hear the opening cut, with its dark bass flutes, the amazing lower register piano and the ferocious brass section that roars in. Much as I love the 'beat' half to this day I know now how much I missed the boat by skipping over 'the blues'. A great album, and essential Mancini.”

Sings Italian Favorites/More Italian Favorites – CONNIE FRANCIS***

Sings Italian Favorites: Comm’e Bella A Stagione/Anema E Core/Arrivederci Roma/You Alone/Volare/Don’t Forget/Towards The End Of The Day/Ciao Ciao Bambino/Mama/Do You Love Me Like You Kiss Me/I Have But One Heart/There’s No Tomorrow/Santa Lucia/Come Back To Sorrento More Italian Favorites: Guaglione/Senza Mamma/Just Say I Love Him/Funiculi Funicula/Summertime In Venice/Roman Guitar/Torero/Nights Of Splendour/Tell Me You’re Mine/That’s Amore/Return To Me/The Loveliest Night Of The Year

Connie’s heritage comes to the fore when she tackles many well known songs either sung in Italian or of Italian origin. Sings Italian Favorites peaked at No. 4, and More Italian Favorites at No. 9, in the US.

“Here Connie emotes and soars over a luxuriant orchestra. I wonder what the Italians made of her work? Well known favourites Funiculi Funicula, Volare and That's Amore anchor the sets. She made a lot about her being Italian-American but she also did her best to embrace the whole world in song. When the mood is right, Connie rules.”

“These two sets, are the first of her 'international' albums, sung in foreign languages and with songs whose genesis was from countries all over the world. At the time of this recording she was singing phonetically rather than fluently, but you can hardly tell as the delivery is fluent and effective spanning the range from high drama to soulfulness.”

“The tracks are not 'pure' Italian as some songs are sung in part Italian/part English and some with the straight English translation of the original Italian lyrics. However the Latin feel is evident throughout. There isn't a sub-standard track and Connie adopts a vocal style appropriate to each song.”

“These are Connie's first Italian recordings and also her highest charting. They give folks an idea what an international singer Connie Francis is. She can capture the moment in any language and was especially fine in Italian. This particular recording boasts big production values with luscious arrangements you can almost eat up. Ah, Bella Connie. A feast for the ears and always a delight."

“Two albums that Connie Francis fans and Italians will truly enjoy. Lots of the old Italian songs that became popular in the US in the 1950-60s.”

Teensville – CHET ATKINS****

White Silver Sands/Boo Boo Stick Beat/Oh Lonesome Me/One Mint Julep/Take A Message To Mary/Teensville/Night Train/Come Softly To Me/Sleep Walk/Django’s Castle/Till There Was You/Hot Toddy

US country guitarist Chet Atkins enjoyed much commercial success in the early 1960s with his instrumental album releases. Teensville includes several covers of recent chart hits in an attempt to broaden his appeal to the burgeoning youth market. (US:16)

"Teensville blends the inimitable style of Chet Atkins with both popular hits of the early 60s and some unknown gems. Take A Message To Mary, Oh Lonesome Me and Come Softly To Me bear the essence of the light, sweet sounds of the original versions with a touch of Chet's interpretation, as do several others. The album’s title track Teensville capitalizes on the rhythmical influence of Bo Diddley. Django's Castle is a tribute to the great jazz/ragtime guitar master Django Reinehart. Hot Toddy is a sweet melding of a Chet chordal melody with some fine breathy sax work. And my personal favourite One Mint Julep captures Chet's wry country jaunt with some innovative volume pedal work on the last verse. To anyone who loves and values the style that is singularly Chet Atkins, I recommend this album.”

"Teensville is a lush sonic exploration, alternately meditative and seductive. It is a work of artistic genius. There are big-band standards, 1930s jazz, Broadway songs, '40s blues, covers of great rock and roll like Sleepwalk and Come Softly To Me plus several strong originals. Beyond genre, it is played with spice, restraint, love of harmony, inspired musicianship. Atkins' gentle optimistic spirit subtly conceals oceanic depth and deadly commitment.”

“On Teensville, we have a selection of jazz masquerading as rock, since the intent of this album was to cross over. It is unlike a lot of other Atkins albums in that here Chet is at times more part of the ensemble than the sole focus of the music. However, there is still plenty of Chet in this music, including his unmistakable and very original techniques. Perhaps most closely associated with country music, Chet Atkins was never afraid to try new ideas and sounds. With Teensville he took a collection of well known rock 'n' roll songs and produced an instrumental album that features his guitar playing to the fore.”

Nina & Frederik – NINA & FREDERIK***

Eden Was Just Like This/Man Smart Woman Smarter/Maladie D’amour/Limbo/Come Back Liza/Hold ‘Im Joe/Jamaica Farewell/Happy Days/Day-O/Mango Vendor/Choucounne/When Woman Say No She Mean Yes

Danish folk duo Nina & Frederik were a mainstay of BBC television light entertainment shows in the early 1960s. The glamorous couple were quickly forgotten once they disappeared from the TV screens, victims of changing musical taste. (UK:9)

“Where are they now, people might ask, but sometimes it is better just to remember how they were then, all those years ago. Back then Nina and Frederik were top international entertainers, a multi-lingual, husband and wife singing duet, purveyors of sweet (and delightfully so) songs of varied origin. They made best-selling records and appeared in films, but it was through their television and stage performances that they really made an impression. They came, they entertained, they faded, but the songs live on, evoking memories of what to many remains a simpler, less frenetic age.” “Nina and Frederik were one of the best man/wife duos around in the sixties and charmed millions with their folksy/humorous/melodic sounds.”

“Nina & Frederik seemed to have disappeared and been forgotten from the music scene. Their voices and music are even more lovely than I remembered. This is an album of beautiful vocal harmonies conveyed through these old songs that can be highly recommended.”

“From the late 1950s to mid 1960s, the aristocratic duo Nina & Frederick entertained audiences across Europe and North America with their 'pop' slanted folk and calypso singing, distinctive sweet harmonies and melodic songs.”

“With Jamaica Farewell this folk duo show extreme versatility, but it is almost too exaggerated compared with the Harry Belafonte version.”

The Explosive! – FREDDY CANNON***

Boston(My Home Town)/Kansas City/Sweet Georgia Brown/Way Down Yonder In New Orleans/St Louis Blues/Indiana/Chattanooga Shoe Shine Boy/Deep In The Heart Of Texas/California Here I Come/Okefenokee/Carolina In The Morning/Tallahassee Lassie

High energy US rock & roller Freddy Cannon topped the UK album chart with his Explosive! LP. Includes the US and UK top three hit single Way Down Yonder In New Orleans, and an alternative version of his UK hit Tallahassee Lassie. The fickle tastes of the public would deny him any further album chart success. (UK:1)

“Freddy was never Elvis, Buddy Holly or Chuck Berry, nor do I think he so intended. What he did was to make a series of radio-friendly fun records, a bit off beat. Some try to dismiss him as a 'novelty' artist, but that's not true.”

“Freddy 'Boom Boom' Cannon was a regular contributor to the East coast rock and roll scene of the late 1950s and early 60s. The driving tunes are not deep and profound but are simple, exciting teenage fare from back then.”

“Freddy didn't have the greatest voice, but his energy and delivery were highlighted by the fantastic band that backed him up. This LP really allows you to appreciate how good those musicians were and adds to the total enjoyment of hearing these songs. The ending of Way Down Yonder In New Orleans has to be one of the best horn fade outs of all time.”

“Freddy reverberated energy. He was known for energetic carefree music. His larger than life sound of 'the big bass drum-sound' on his records earned him the nickname ‘Boom Boom’.”

“When a Cannon song plays you just have to move and there's ample proof of a whole lot of shaking going on.” “Cannon had two indelible trademarks, a penchant for inserting a shouted ‘Whoo’ and a crashing drum beat in all his late 50s/early 60s hits.”

“Explosive is possibly Freddy’s best LP which featured names of US places. The version of Tallahassee Lassie is not the single hit version.”

The Seven Ages Of Acker – ACKER BILK***

In A Persian Market/I’m Going Home/Ory’s Creole Trombone/Summer Set/Let The Light From The Lighthouse Shine/The Gay Hussar/Tiger Rag/Lucky Rock/Cushion Foot Stop/Run Come See Jerusalem/Old Comrades

Acker Bilk & his Paramount Jazz Band were one of the leading exponents of the UK trad jazz boom of the early 1960s, the popularity of which evaporated almost overnight with the arrival of the beat groups. The Seven Ages Of Acker includes the UK top five hit single Summer Set, a play on words for his home county. (UK:6)

“It is great music and very typical Acker Bilk.”

“Music is just as I remembered it. A good cross section of the music played by Acker Bilk in his heyday.”

“Brilliant....bought this in 1960 and loved it.....I still do. This is Acker Bilk at his best.”

“Summer Set is a fabulous Acker Bilk composition with an equally fabulous Acker Bilk clarinet solo.”

“Acker Bilk was at the forefront of the traditional jazz boom of the late 1950s in Britain. His UK success had been cemented with the single Summer Set, a top ten hit at the turn of 1960.”

“Traditional jazz played in a lyrical, enthusiastic and melodic manner by some of Britain’s finest jazz men at a time when they could be said to have been at their peak. The tune Summer Set did well in the charts and it wasn’t just trad fans buying it.”

“As a trad jazz musician, Bilk rejected the use of amplified instruments and was also against the use of saxophone, most commonly associated at the time with bop and hard bop jazz, using instead the instrumentation most commonly associated with jazz music prior to World War II. As a result, his early recordings featured Bilk on clarinet, with accompaniment on banjo, trumpet, trombone, drums and piano.”

Latin Ala Lee! – PEGGY LEE*****

Heart/On The Street Where You Live/Till There Was You/I Am In Love/Hey There/I Could Have Danced All Night/The Surrey With The Fringe On Top/The Party’s Over/Dance Only With Me/Wish You Were Here/C’est Magnifique/I Enjoy Being A Girl

Latin Ala Lee sees legendary jazz vocalist Peggy Lee interpret Broadway show tunes with a Latin beat, resulting in one of her most commercially successful albums. (US:11 UK:8)

“Peggy Lee was one of the first great singers of the 20th century to seriously integrate a Latin beat into her music, and this LP proves that she was very successful with it. I highly recommend this for fans of classic pop vocals and fans of that Afro-Cuban beat from the late 1950s and early 1960s.”

“No matter how many times you hear it you'll never tire of it. You can tell Peggy truly enjoyed recording this, every song is sensational. This is the kind of music to put on, whether you just get home from work and kick your shoes off, or have some friends over for a relaxing evening. Highly recommended.”

“The music is authentic Afro-Cuban jazz. It swings and Lee is ala Latin. This is wonderful stuff, her fans back in the early 60s must have thought she was crazy, however jazz vocal lovers will enjoy this gem.”

“The best Peggy Lee album ever because every song is great. The best show tunes ever written, sung by Peggy with a Latin beat and arrangements. Infectious, makes you happy to listen, to sing, dance, chases the blues away.”

“It is a masterpiece of mid-century camp, with groovy and sometimes frantic Afro-Cuban and Latin arrangements of familiar Broadway tunes, topped by the light and inimitably breathy phrasing of Miss Peggy Lee. Some of the songs are so far out that you can't imagine how she could get away with it.”

“Trading her cool jazz combo for a dynamic Latin beat, Lee goes right to town, singing classic Broadway show tunes in a bold new context. You'll be grinning from ear to ear as soon as you pop this disc on.”

"Miss Lee sings many popular show tunes from the 50s and 60s in saucy salsa style. The vocals are clear and clean.”